Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Zambia and from Accra.
But I was there.
I was there in 1965.
I was there at the first Beefheart show in Lancaster.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1972.
I'm losing my edge.
To all the kids in Mexico City and Seoul.
I'm losing my edge to the art-school Salvador kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Visage to the electroclash kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Newcleus. All the underground hits.
All Hasil Adkins tracks. I heard you have a vinyl of every Joey Negro record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a harpsichord and a synthesizer and are throwing your macbook out the window because you want to make something real. You want to make a Half Japanese record.
I hear that you and your band have sold your mellotron and bought a marimba.
I hear that you and your band have sold your marimba and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
D'Angelo,
Quadrant,
Sandy B,
Kaleidoscope,
Guru Guru,
The Golliwogs,
Drexciya,
James White and The Blacks,
The West Coast Pop Art Experimental Band,
Grey Daturas,
The Modern Lovers,
Warsaw,
Soft Cell,
The Wake,
Lizzy Mercier Descloux,
Rowland S Howard / Lydia Lunch,
Al Stewart,
Selector Dub Narcotic,
Infiniti,
Kerrie Biddell,
Goldenarms,
The Pop Group,
The Gun Club,
Avey Tare,
Q and Not U,
Panda Bear,
Agitation Free,
Dorothy Ashby,
Ultravox,
The Monochrome Set,
The Last Poets,
The New Christs,
Kauko Röyhkä ja Narttu,
Anakelly,
Derrick May,
Skarface,
Thinking Fellers Union Local 282,
Popol Vuh,
The Blackbyrds,
Ice-T,
Mr. Review,
the Normal,
Richard Hell and the Voidoids,
Animal Collective,
Second Layer,
Underground Resistance,
Louis and Bebe Barron,
MC5,
Supertramp,
Pharoah Sanders,
Black Pus,
Kevin Saunderson,
Rites of Spring,
The Walker Brothers,
Pulsallama,
The Shadows of Knight,
The Pretty Things,
Crispy Ambulance,
Tears for Fears,
The Busters,
Gichy Dan,
Barrington Levy,
Boogie Down Productions, Boogie Down Productions, Boogie Down Productions, Boogie Down Productions.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.